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Music of Basile Barès

Editorial Reviews

All Music Guide - James Manheim
Even the energetic excavation of African-American concert music over the last few decades has not brought much to light about Basile Barès, and this generous sampling of his short piano pieces will be ready-made for researchers and term-paper writers even if only moderately interesting for the casual listener. Barès was a so-called creole of color in New Orleans, born into slavery in 1845. He traveled to Paris, apparently mastered the waltzes, polkas, and mazurkas popular in French salons, and brought them back to New Orleans. Those hoping for even a hint of the African-American influence present in the compositions of Louis Moreau Gottschalk will be disappointed. Barès ...
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Editorial Reviews

All Music Guide - James Manheim
Even the energetic excavation of African-American concert music over the last few decades has not brought much to light about Basile Barès, and this generous sampling of his short piano pieces will be ready-made for researchers and term-paper writers even if only moderately interesting for the casual listener. Barès was a so-called creole of color in New Orleans, born into slavery in 1845. He traveled to Paris, apparently mastered the waltzes, polkas, and mazurkas popular in French salons, and brought them back to New Orleans. Those hoping for even a hint of the African-American influence present in the compositions of Louis Moreau Gottschalk will be disappointed. Barès sticks close to the rhythms named in the titles of each piece, and his forms and melodies are pretty conventional. Some of the pieces lightly evoke the moods of their often colorful and locally oriented names, while other titles are a bit mysterious "Temple of Music: Polka Mazurka". Most effective are the pieces in which Barès was either up-to-the-minute rhythmically the infectiously zippy "Basile's Galop" or else old-fashioned in a military vein -- the constantly shifting rhythms of "La belle Créole: Quadrille des Lanciers Américain" it would be nice to know whether the missing "s" on "Américain" was an editorial error, and if so, on whose part, with each new rhythm announced by several bars of portentous introduction, are lots of fun and evoke a regiment making quick turns on one of the old New Orleans squares or parade grounds. Pianist Peter Collins deserves credit for committing this music to disc but seems to think that by pounding the keys he can give it more weight than it really demands -- it is, as several of the titles attest, salon music. Definitely of interest for library collections of African-American music.
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Product Details

  • Release Date: 7/24/2007
  • Label: Centaur
  • UPC: 044747283524
  • Catalog Number: 2835

Tracks

Disc 1
  1. 1 La Créole, for piano, Op. 10 - Basile Bares & Peter Collins (4:30)
    Composed byBasile Bares
  2. 2 Mamie Waltz, for piano, Op. 27 - Basile Bares & Peter Collins (3:49)
    Composed byBasile Bares
  3. 3 Merry Fifty Lanciers, for piano, Op. 21 - Basile Bares & Peter Collins (3:47)
    Composed byBasile Bares
  4. 4 Regina Valse, for piano - Basile Bares & Peter Collins (3:28)
    Composed byBasile Bares
  5. 5 Grande Polka des Chasseurs à Pied de la Louisiane, for piano - Basile Bares & Peter Collins (1:51)
    Composed byBasile Bares
  6. 6 Minuit: Valse de Salon, for piano, Op. 19 - Basile Bares & Peter Collins (3:38)
    Composed byBasile Bares
  7. 7 Los Campanillas, for piano - Basile Bares & Peter Collins (2:17)
    Composed byBasile Bares
  8. 8 Les Cent Gardes Valse, for piano, Op. 22 - Basile Bares & Peter Collins (3:35)
    Composed byBasile Bares
  9. 9 Les Variétés du Carnaval, for piano, Op. 23 - Basile Bares & Peter Collins (5:14)
    Composed byBasile Bares
  10. 10 La Louisianaise: Valse Brillante, for piano - Basile Bares & Peter Collins (3:06)
    Composed byBasile Bares
  11. 11 Temple of Music: Polka Mazurka, for piano - Basile Bares & Peter Collins (3:01)
    Composed byBasile Bares
  12. 12 Exhibition Waltz, for piano, Op. 11 - Basile Bares & Peter Collins (3:39)
    Composed byBasile Bares
  13. 13 The Wedding Heel and Toe Polka, for piano, Op. 26 - Basile Bares & Peter Collins (2:04)
    Composed byBasile Bares
  14. 14 La Capricieuse Valse, for piano, Op. 7 - Basile Bares & Peter Collins (3:52)
    Composed byBasile Bares
  15. 15 La Coquette: Grand Polka de Salon, for piano - Basile Bares & Peter Collins (4:06)
    Composed byBasile Bares
  16. 16 La Séduisante: Grande Valse Brillante, for piano - Basile Bares & Peter Collins (4:38)
    Composed byBasile Bares
  17. 17 Basile's Galop, for piano - Basile Bares & Peter Collins (2:14)
    Composed byBasile Bares
  18. 18 Les Violettes Valse, for piano, Op. 25 - Basile Bares & Peter Collins (3:48)
    Composed byBasile Bares
  19. 19 La Belle Créole: Quadrille des Lanciers Américain, for piano - Basile Bares & Peter Collins (3:48)
    Composed byBasile Bares
  20. 20 Les Folies du Carnaval: Grande Valse Brillante, for piano - Basile Bares & Peter Collins (4:10)
    Composed byBasile Bares
  21. 21 Galop du Carnaval, for piano, Op. 24 - Basile Bares & Peter Collins (1:47)
    Composed byBasile Bares
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Album Credits

Performance Credits
Peter Collins Primary Artist
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